(fl Cologne, c. 1470–94). German painter. He is named after a large panel, densely filled with numerous figures, showing the Glorification of the Virgin (c. 1475; ex-St Brigida, Cologne; Cologne, Wallraf-Richartz-Mus.). His inflexible concept of form, archaic compositional patterns and numerous references to the work of Stefan Lochner point to his starting work in mid-century. A small panel showing the Virgin and Infant Jesus on a Bench (Berlin, priv. col.) was very likely produced before the Glorification. A Portrait of a Young Man (c. 1480; Penrhyn, nr Bangor, priv. col.) shows a matter-of-fact and thorough style following the example of the portraits of Dieric Bouts and Hans Memling. The south Netherlandish Master of Flémalle's Werl Altarpiece, then in Cologne, influenced the Master's Annunciation (c. 1490; Cologne, Wallraf-Richartz-Mus.), and other Netherlandish influences—perhaps the Columba Triptych by Rogier van der Weyden (c. 1450; ex-Columba, Cologne; Munich, Alte Pin.) and works by Hugo van der Goes—left traces in his works. The various components come most clearly to light in the magnificent Adoration of the Magi (?1493; ?ex- Franziskanerkirche, Brühl, Aachen, Suermondt-Ludwig-Mus.). Large panels showing St Christopher, the city patrons SS Gereon and Peter and St Anne, the Virgin and the Infant Jesus (after 1493; Cologne, Wallraf-Richartz-Mus.) offer a fine representation of sculpturally conceived saints before a true-to-life view of Cologne and its environs, seen from the Rhine. Not until Anton Woensam's woodcut vedute (1531; Cologne, Wallraf-Richartz-Mus.) was this prospect of the city surpassed.
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.